Zugl.: Logan (Utah), Utah State Univ., Diss., 2005

Thèse (D. en sémiologie)--Université du Québec à Montréal, 2004. / En tête du titre: Université du Québec à Montréal. Bibliogr.: f. [322]-331. Publié aussi en version électronique.

Thesis (doctoral)--Aarhus universitet, 1994. / Includes bibliographical references (p. 395-411) and index.

In this essay, I focus on the issues of theatre production in an originally non-theatrical space. The work aims at describing the relation between the space and the directorial, stage design and visual component of a production, setting specific projects as examples. I map my work in an originally non-theatrical space and I describe the process of creation of individual projects of that kind. Based on the realization of many productions, theatre installations and one visual installation, I introduce possible artistic approaches and working procedures. The essence of this work lies in finding and naming the moments where the project is formed by the space and those where, in the contrary, the project affects an existing non-theatrical space. The thesis provides a summary of experience gained by working in non-theatrical spaces and suggests possible connection between artistic and production management activity. The reader is offered a number of starting points and assumptions in the matter of working in a non-theatrical space and our attention is brought to the advantages and difficulties of such work.

In this theoretical thesis I want to explore the interaction of theater and film. I do not want to be preoccupied with "filmed theater", but only with film adaptations of theatrical productions. Dramatic works became really often template for films, but what leads the creators of the movie to film the specific theatrical productions? How will the filmmakers be affected by existing artwork, and which path to take when theater and film have so many different ways of expression? What has the movie theater to offer, and what the film is able to borrow, take, or transform? And in this case,are there any rules?

The goal of my Master thesis is to sketch requirements and possibilities in scriptwriters profession and to find out, what options student have in order to work as a scriptwriter professionally. What can Department of Screenwriting and Script-editing offer to the students in order to prepare them to be successful in this field. My work is based on interviews with active professional screenwriters, questionnaires of students and last but not least, my own experience from being student and becoming professional.

The aim of this diploma thesis is to create a study of my own time-lapse documentary movie about the Green Party. It tries to grasp my own longtime relationship with the party and with the movie aiming to find final interpretation of the facts that happened in the years 2003- 2005 in which the party was facing radical transformation. It reflects more personal than academic interpretation of the movie and the political situation itself. It is based on several historical film documents which try to set lights to the facts that are usually hidden to everyday viewer.

The aim of the diploma thesis Practical dramaturgy of a great drama house (Is it possible to create a conscious artistic concept in the National theatre?) is to try to reflect practical experiences obtained during the first season as a dramaturg of the drama department in the National Moravian-Silesian Theatre and based on them to name the specifics and problematics of the dramaturgy of a great drama house in a regional city. NMST is a four department theatre operating two big stages (Jiří Myron Theatre and Antonín Dvořák Theatre) and a small stage (rehearsal room in Antonín Dvořák Theatre), where on all of them the drama department is operating. Therefore it is not a classical one department drama house as it is (like e.g. Vinohrady Theatre), but it is essential that in Ostravian theatrical context it fulfills exactly this function. Major role in the functioning of drama department of NMST is obviously played by two “systems”, which it is a part of: ie the National Moravian-Silesian Theatre (thus also other departments and its overall profilation) and Ostravian theatre scene, therefore I consider necessary to outline the wider context at first because it largely affects the drama department of NMST as its subset. The part of this work is also a pursuit of naming the task of a permanent dramaturg in this type of theatre, using which means he can (and must) participate on the directions and formation of the department, with short-term and long-term outlook, which comes obviously from the specific experience in this specific theatre. It is not the aim to pursue the past of the drama department of NMST, thus analysis of the historical tendencies of this department, but its contemporary situation, ie the present and possible future. Based on the analysis of the current repertoire and upcoming dramaturgical plans I will pursue the options and limits not only of this drama department, but of the great drama at all.

The goal of this work is to popularize certain sound theory issues (e.g. storytelling, interactivity/immersion, sound/image perspective, semiotics). It deals with the basic sound/image and diegetic/extradiegetic relations, compiling the works of various sound theoreticians. Despite being focused on narrative film, it discusses specific features of four most common semi-narrative genres and gives a hint of sound/image relations in non-narrative and interactive audiovisual media. Apart from the sound/image/diegesis relations, this work briefly explains the synchresis phenomenon and the meaning of tight or loose sound/image synchronicity for tampering with the perspective and perception of the filmic time and space. The appendices contain some information concerning related themes – a short combinatorics column, a column explaining the three basic sound planes, the use of sound as a signifier and a longer quotation of Michel Chion’s article on rendered sound.

This thesis called dual concept of a character deals with the existence of films where the protagonist is not the main character of a viewer. The work examines on the basis of which principles this effect occurs. Then it is described, what kind of relations these characters have with each other, and how they influence each other during the narration. A few rules are set on the basis of the particular film examples, which fulfilment contributes to this effect. The aim of this work is to explain the difference between the function of a protagonist and the main character of a viewer. It also classifies types of stories, where the effect of a dual concept of a character occurs most often.